BIG BAND, SWING, TRAD JAZZ :[1955-1966] Billy Maxted is a name one seldom hears when super musicians are mentioned. Yet, he began his playing and arranging with the likes of none other than Red Nichols from 1937 to 1940. He also played and arranged for Ben Pollack, Teddy Powell and Will Bradley. After serving in the Navy, he provided arrangements for Benny Goodman and Claude Thornhill. In 1947 and 1948 he co-led a band with Ray Eberle. In 1961 his swing version of 'Satin Doll' was in the top of the Billboard charts. (Collective Personnel: Chuck Forsythe, Lee Gifford, Sal Pace, Charlie Treager, Sonny Igoe, Dan Tracy, Jack Lesberg, more)

BIG BAND, SWING, TRAD JAZZ :[1974-1975] The East Bay City Jazz Band was formed in 1970 by Robin Verdier, pianist, and Walter Schwab, at a time when the New England area was realizing a significant growing interest in Trad Jazz. The leadoff tune, 'London Blues' is a seldom heard tune, in spite of the fact that documents show 59 recordings since it was written in 1923. The second and third tunes showcase the excellent vocal style of Jane Campedelli. From the hard driving arrangement of 'Black Bottom Stomp' to the superb rendition of the blues 'Skit Dat De Dat' this is traditional jazz at its best. (Personnel: George Ryan, Andy Kilgour, Bruce Burrell, Fred Walsh, Robin Verdier, Cal Owen, Chuck Stewart, Art Burns, Jane Campedelli)

BIG BAND, SWING, TRAD JAZZ :[1926-1928] The Broadway Bellhops featured some of the most seminal artists of the period, including Red Nichols (trumpet) and Miff Mole (trombone). The Bell Hops came together to produce records for Columbia's budget label, Harmony. Under the leadership of Sam Lanin the Bell Hops formed a unique gathering of some of the most popular and hottest musicians of the time. The Bell Hops came together between recordings with other groups (including Jean Goldkette) and under the leadership of others, such as Ben Selvin and Frankie Trumbauer. (Collective Personnel: Bix Beiderbecke, Red Nichols, Miff Mole, Hymie Farberman, Bill Rank, Don Murray, Frank Trumbauer, Bobby Davis, Joe Venuti, Frank Signorelli, John Cali, Joe Tarto, Vic Burton) (Vocals: a- Billy Jones; b- Harmony Brothers; c- Arthur Fields; d- Irving Kaufman; e- Unknown)

BIG BAND, SWING, TRAD JAZZ :[1926-1928] Despite a music career that spanned more than 50 years, surprisingly little is known about bandleader, Joe Candullo. He was a regular on network radio, and he made more than 100 issued recordings. While the majority of his discs were released, from 1926 to 1929, Candullo was still in the studio, as late as 1954 (and possibly later). He was leading a popular orchestra at the Everglades, a restaurant on 46th Street and Broadway, in New York City. It was with this band that Candullo made his first recordings, on February 23, 1926. By April 1927, Joe Candullo and His Everglades Orchestra were making their first radio broadcasts over WMCA, in New York. (Collective Personnel: Red Nichols, Jimmy Dorsey, Jimmy McPartland, Glenn Miller, Mike Mosiello, Nick Farrara, Ray Bauduc, Sylvester Ahola, Irving Kaufman, Fud Livingston, more)

BIG BAND, SWING, TRAD JAZZ :Max Kaminsky led a long and varied life in jazz, playing at one time or another with the greatest musicians in jazz history. This collection includes Brad Gowans, Pee Wee Russell, Joe Sullivan, Eddie Condon, Al Morgan and George Wettling and more.

BIG BAND, SWING, TRAD JAZZ :[1927-1930] Though widely known for his good looks and athleticism, Bernie Cummins was even more highly regarded for his talent as a bandleader. His many recordings (beginning with Gennett in 1924) and his frequent radio broadcasts made him one of the most recognized bandleaders in the country. His ability to perform popular sweet numbers as effectively as his hot dance tunes made him a favorite among wide audiences, from the 1920s to the 1940s. This collection of recordings has been selected from the best of his Brunswick and Victor sessions, which were released under the name of Bernie Cummins and His Orchestra, Bernie Cummins and His Rose Room Orchestra and Bernie Cummins and His New York Biltmore Orchestra. Together, they echo the same energy and excitement as the radios, running boards and DC-3's that have come to symbolize the era.(Personnel: Paul Roberts, Karl Radlach, Walter Cummins, Paul Blakely)

Jazz, New Orleans, Funk, Soul:Big Sale! Trombone virtuoso Mike Rinta made his name backing up scores of Jazz and Funk stars including Sly & the Family Stone, Herbie Hancock, Buddy Guy, and Otis Clay - as well as Carlos Santana, Neil Schon, Philip Bailey, legends Jerry Garcia and Bob Wier and The New Orleans All Stars. His aptly titled debut record Eponymous is a lovingly rendered medley of moody organic jazz with New Orleans-style compositions and arrangements. Mike and Wide Hive Records have worked together for over ten years and we are proud to have the honor of releasing his first solo album. Recorded live with no overdubs at the famed Fantasy Studios, Berkeley, CA, featuring RHYTHMTOWN-JIVE personnel Kevin Zuffi, Jimmy Sanchez, Tim Eschliman, as well as Paul Branin, and Adam Shulman. Produced by Gregory Howe. Mastered by Justin Weiss. Engineered by Alberto Hernandez.

BIG BAND, SWING, TRAD JAZZ :[1940-1955/1963] By October 1939, Joe Sullivan was leading his own band, at Cafe Society, in New York. Sometime after April 1940, he played at Nick's and began a residency at the Famous Door, which lasted until June 1941. Soon afterward, he returned to Cafe Society with a trio and remained there, until 1942. During this same period, he made numerous recordings with his own bands. He also participated in Eddie Condon's "Town Hall" broadcasts and played on several of Condon's Commodore sessions. In the spring of 1943, Sullivan was back in Los Angeles, where he led a band at the Swanee Inn. In 1945, he was featured in a duo with Meade Lux Lewis, at Chicago's Sherman Hotel. In 1951, Joe Sullivan performed on a "Voices of America" broadcast and began touring with Louis Armstrong and His All Stars. In 1952, he participated in several "Doctor Jazz" broadcasts over WMGM. Then, in August 1952, he played his first engagement at Club Hangover, in San Francisco where he settled permanently. (Collective Personnel: Eddie Anderson, Benny Morton, Edmond Hall, Danny Polo, Freddy Green, Henry Turner, Johnny Wells, Billy Taylor Sr., Yank Porter, Pee Wee Russell, Sutty Singleton, Max Kaminsky, Miff Mole, Jack Lesberg, Cutty Cutshall, Jeff Morgan)

BIG BAND, SWING, TRAD JAZZ :[1929-1947] Although it is necessary in any collection of theme songs to include those tunes that immediately come to mind such as Benny Goodman, Glenn Miller, etc. we have attempted to include many bands that the casual listener may not recall. Of course the serious collectors of this type of music will know most of these bands. Although, even the serious collector might find the Johnny McGee theme with his excellent trumpet work new to them. Regarding Johnny McGee & His Orchestra, he made thirty two recordings for the Varsity label between February and June of 1940 yet, the Rust discography of American Dance Bands does not mention the band. Lords Discography does show two tune which are probably considered the bands' jazz sides. There is no question this was a quality band. While the Larry Clinton theme Dipsy Doodle, is well known, it is interesting to know that he never recorded the tune, and the broadcast version included here with vocal by Bea Wain, is the only time she ever sang this tune. Ben Pollack's theme, Song of the Islands, heard here, with the superb clarinet solo by Irving Fazola, is actually the recording that first brought the name of Fazola to prominence. Prior to that he was known almost exclusively in the New Orleans area. If you give a close listen the superb style of Fazola, it is easy to hear why he was the major influence on the musician Pete Fountain. One can almost hear Fazola on some of Fountain's popular recordings. Much has been said and written about how Benny Goodman as a leader in breaking down racial barriers in the music business and all of these are legitimate, but we should not forget other white band leaders who even before Goodman were also making giant strides to break the racial barriers. For example, give a listen to the Leo Reichman band theme. This white band chose a superb black trumpet player by the name of Bubber Miley who was feature soloist on many of the bands best recordings. Willie Bryant was not a musician although as a boy attempted to learn the trumpet. He was however, an accomplished dancer and vocalist in addition to being intelligent, witty and debonair. Although not a musician, he formed a band in 1934 for an engagement at the Savoy Ballroom in Harlem. On his theme heard here, listen for the Teddy Wilson piano and Cozy Cole choke that cymbal.(Artists: a- Van Alexander; b- Don Bestor; c- Will Bradley; d- Willie Bryant' e- Billy Butterfield; f- Bob Chester; g- Larry Clinton; h- Jack Denny; i- Benny Goodman; j- Jerry Gray; k- Mal Hallett; l- Woody Herman; m- Ina Ray Hutton Melodears; n- Isham Jonesl o- Dick Jurgens; p- Hal Kemp; q- Andy Kirk; r- Bert Lown; s- Johnny McGee; t- Glenn Miller; u- Russ Morgan; v- Ben Pollack; w- Joe Reichman; x- Leo Reichman; y- Artie Shaw; z- Chick Webb)

BIG BAND, SWING, TRAD JAZZ :[1938-1975] Material recorded live from Nick's in New York City on October 1949, the Baldwin Studios in October 1938, the Scotch & Serloin Restaurant, Boston in 1975, Thesaurus Transcriptions 1947 and Armed Forces Radio Transcrptions 1957. The material from Nicks and Scotch & Serloin as well as the Thesaurus Transcriptions have never been on LP or CD. (Personnel: Hank Duncan, Cliff Leeman, George Barnes, Jack Lesberg, Billy Maxted, Phil Olivella, Zutty Singleton, Joe Marsala, Eddie Condon, Pee Wee Russell, more)

BIG BAND, SWING, TRAD JAZZ :[1925-1930] This CD traces the group formed by Wilson Robinson in St. Louis from the time they arrived in New York and began playing the Cotton Club in 1925 under the leadership of Andy Preer. After Preer's sudden death in 1927 the Cotton Club owner, Owney Madden, fired the group (and brought in Duke Ellington). The group left New York to accompany Ethel Waters under the leadership of George Scott. They returned to New York sometime in 1928 with the name The Missourians and vocalist Lockwood Lewis and became the house band at the Savoy. These recordings span from 1925 until a month before the Missourians hired a new vocalist, Cab Calloway who renamed the group, "Cab Calloway And His Orchestra" and became the house band at the Cotton Club when Ellington left for Hollywood. (Personnel: Louis Metcalf, DePriest Wheeler, Dave Jones, Charlie Stamps, Earres Prince, Andrew Brown, Eli Logan, Sidney DeParis, George Scott, Williams Thornton Blue, more)

swing, jazz, blues, rhythm & blues:This Johnny Nocturne CD is unique in that it features all three vocalist that have worked with the band over the years. All the tracks are previously unreleased. Brenda Boykin performs a beautiful rendition of "When Did You Leave Heaven," Kim Nalley is her usual sassy self with "That Cat's Evil," and Ms. Dee comes on with a bluesy take on "You're Nobody Till Somebody Loves You." Firmin and the band continue with the unique mix of jump blues, small band swing, soul and jazz. "Good to the Damn Bone," is the first tenor sax, B-3 instrumental feature by the band. Firmin and Henry Salvia swing through this classic Willis Jackson blues head. This CD is a good introduction to this band if you haven't heard them yet. And a must addition to any previous Nocturne CDs.The Johnny Nocturne Band on these recordings is John Firmin / Johnny Nocturne: tenor sax and leaser; Henry Salvia: piano and organ; Alex Baum: bass; Anthony Paule: guitar; Keny Bryson and Terry Baker: drums; Marty Wehner and Derek James: trombone; Rob Sudduth, Marlo Green and Danny Bittker: baritone sax; Pete Sembler and Bill Ortiz: trumpet; band and Kurt Pasch: background shouts.Produced by John Firmin with Alex Baum and David Luke.Graphics by Mitsuko Baum.

BIG BAND, SWING, TRAD JAZZ :[1926-1928] The complete recordings of Nat Shilkret's All Star Orchestra. Featuring Benny Goodman, Tommy Dorsey, Glenn Miller and Jimmy McPartland. With Miff Mole, Joe Venuti, Carl Kress, Johnny Marvin and Chauncey Morehouse. In all, the All Star Orchestra made 18 recordings, from December 1927 to November 1929. Of these, 16 were released. While jazz enthusiasts will find much that is significant in these recordings, there are two which stand out above the others. These are the recordings of 'I'm More Than Satisfied' and 'Oh, Baby!' Both were recorded on March 21, 1928. The session was Benny Goodman's first, in New York. It was also the very first time that Benny Goodman recorded with Tommy Dorsey. At first glance, the band's name might appear to be just another case of over-used hyperbole. Except among those who were most acquainted with the band's members, this might have seemed the case, even in 1928 and 1929. But looking back, today, we know that Nat Shilkret kept the band true to its name. For it was, in fact, an All Star Orchestra. (Personnel: Benny Goodman, Tommy Dorsey, Glenn Miller, Jimmy McPartland, Miff Mole, Joe Venuti, Carl Kress, Johnny Marvin, Chauncey Morehouse).

Jazz, Latin:The aptly-named MAMBO KING is a 24-track compilation that provides a perfect overview of the great Perez Prado. The British issue comes with remastered sound and a booklet with notes and photos. Digitally remastered anthology presented in a digipak with an 8 booklet. Includes rare photos, session details and biographical notes of the artist. Proper.This is part of the Orfeon Joyas Musicales series. Used CD in VG+ Very Good Plus condition.

BIG BAND, SWING, TRAD JAZZ :{1936-1940] 25 track collection contains the complete recordings of clarinet/saxophonist Toots Mondello and His Orchestra, including nine of his best recordings with Benny Goodman and others. Also feautures the bands of Claude Thornhill, Ziggy Elman and Dick McDonough. Many of the selections on this CD are alternate takes which spotlight Mondello's solos in place of solos featured on the issued takes. (Personnel: Dick McDonough, Claude Thornhill, Ziggy Elman, Metronome All Stars, Benny Goodman).

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